DIRECTORS, 4 EDITION boat ess of ty in, Norman Bates' remark to woman is the central c th s here unless they've gotten off ho; (d)Closely connected with these 440
HITCHCOCK DIRECTORS, 4th EDITION 440 the meantime, he assimilated the two aesthetic influences that were major determinants in the formation of his mature style: German Expressionism and Soviet montage theory. The former, with its aim of expressing emotional states through a deformation of external reality, is discernible in his work from the beginning (not surprisingly, as he has acknowledged Lang’s Die müde Tod as his first important cinematic experience, and as some of his earliest films were shot in German studios). Out of his later contact with the Soviet films of the 1920s evolved his elaborate editing techniques: he particularly acknowledged the significance for him of the Kuleshov experiment, from which he derived his fondness for the point-of-view shot and for building sequences by cross-cutting between person seeing/thing seen. The extreme peculiarity of Hitchcock’s art (if his films do not seem very odd it is only because they are so familiar) can be partly accounted for by the way in which these aesthetic influences from high art and revolutionary socialism were pressed into the service of British middle-class popular entertainment. Combined with Hitchcock’s all-pervasive scepticism (‘‘Everything’s perverted in a different way, isn’t it?’’), this process resulted in an art that at once endorsed (superficially) and undermined (profoundly) the value system of the culture within which it was produced, be that culture British or American. During the British period the characteristic plot structures that recur throughout Hitchcock’s work are also established. I want here to single out three examples of his work, not because they account for all of the films, but because they link the British to the American period, because their recurrence is particularly obstinate, and because they seem, taken in conjunction, central to the thematic complex of Hitchcock’s total oeuvre. The first Hitchcock theme is the story about the accused man: this is already established in The Lodger (in which the male protagonist is suspected of being Jack the Ripper); it often takes the form of the ‘‘double chase,’’ in which the hero is pursued by the police and in turn pursues (or seeks to unmask) the actual villains. Examples in the British period are The 39 Steps and Young and Innocent. In the American period it becomes the commonest of all Hitchcock plot structures: Saboteur, Spellbound, Strangers on a Train, I Confess, To Catch a Thief, The Wrong Man, North by Northwest, and Frenzy are all based on it. A second Hitchcock plot device is the story about the guilty woman: although there are guilty women in earlier films, the structure is definitively established in Blackmail, Hitchcock’s (and Britain’s) first sound film. We may also add Sabotage from the British period, but it is in the American period that examples proliferate: Rebecca (Hitchcock’s first Hollywood film), Notorious, Under Capricorn, The Paradine Case, Vertigo, Psycho (the first third), The Birds, and Marnie are all variations on the original structure. It is striking to observe that the opposition of the two themes discussed above is almost complete; there are very few Hitchcock films in which the accused man turns out to be guilty after all (Shadow of a Doubt and Stage Fright are the obvious exceptions; Suspicion would have been a third if Hitchcock had been permitted to carry out his original intentions), and no Hitchcock film features an accused woman who turns out to be innocent (Dial M for Murder comes closest, but even there, although the heroine is innocent of murder, she is guilty of adultery). Second, it should be noticed that while the falsely accused man is usually (not quite always) the central consciousness of type one, it is less habitually the case that the guilty woman is the central consciousness of type two: frequently, she is the object of the male protagonist’s investigation. Third, the outcome of the guilty woman films (and this may be dictated as much by the Motion Picture Production Code as by Hitchcock’s personal morality) is dependent upon the degree of guilt: the woman can sometimes be ‘‘saved’’ by the male protagonist (Blackmail, Notorious, Marnie), but not if she is guilty of murder or an accomplice to it (The Paradine Case, Vertigo). Other differences between the two types of films are also evident. One should note the function of the opposite sex in the two types, for example. The heroine of the falsely accused man films is, typically, hostile to the hero at first, believing him guilty; she subsequently learns to trust him, and takes his side in establishing his innocence. The function of the male protagonist in the guilty woman films, on the other hand, is either to save the heroine or to be destroyed (at least morally and spiritually) by her. It is important to recognize that the true nature of the guilt is always sexual, and that the falsely accused man is usually seen to be contaminated by this (though innocent of the specific crime, typically murder, of which he is accused). Richard Hannay in The 39 Steps can stand as the prototype of this: when he allows himself to be picked up by the woman in the music hall, it is in expectation of a sexual encounter, the notion of sexual disorder being displaced on to ‘‘espionage,’’ and the film systematically moves from this towards the construction of the ‘‘good’’ (i.e., socially approved) couple. The very title of Young and Innocent, with its play on the connotations of the last word, exemplifies the same point, and it is noteworthy that in that film the hero’s sexual innocence remains in doubt (we only have his own word for it that he was not the murdered woman’s gigolo). Finally, the essential Hitchcockian dialectic can be read from the alternation, throughout his career, of these two series. On the whole, it is the guilty woman films that are the more disturbing, that leave the most jarring dissonances: here, the potentially threatening and subversive female sexuality, precariously contained within social norms in the falsely accused man films, erupts to demand recognition and is answered by an appalling violence (both emotional and physical); the cost of its destruction or containment leaves that ‘‘nasty taste’’ often noted as the dominant characteristic of Hitchcock’s work. It is within this context that the third plot structure takes on its full significance: the story about the psychopath. Frequently, this structure occurs in combination with the falsely accused man plot (see, for example, Young and Innocent, Strangers on a Train, Frenzy,) with a parallel established between the hero and his perverse and sinister adversary, who becomes a kind of shadowy alter ego. Only two Hitchcock films have the psychopath as their indisputably central figure, but they (Shadow of a Doubt, Psycho) are among his most famous and disturbing. The Hitchcock villain has a number of characteristics which are not necessarily common to all but unite in various combinations: a) Sexual ‘‘perversity’’ or ambiguity: a number are more or less explicitly coded as gay (the transvestite killer in Murder!, Philip in Rope, Bruno Anthony in Strangers on a Train); others have marked mother-fixations (Uncle Charlie in Shadow of a Doubt, Anthony Perkins in Psycho, Bob Rusk in Frenzy), seen as a source of their psychic disorder; (b) Fascist connotations: this becomes politically explicit in the U-boat commander of Lifeboat, but is plain enough in, for example, Shadow of a Doubt and Rope; (c) The subtle associations of the villain with the devil: Uncle Charlie and Smoke in Shadow of a Doubt, Bruno Anthony in the paddle-boat named Pluto in Strangers on a Train, Norman Bates’ remark to Marion Crane that ‘‘no one ever comes here unless they’ve gotten off the main highway’’ in Psycho; (d) Closely connected with these
DIRECTORS, 4 EDITION HOLGER-MADSEN characteristics is a striking and ambiguous fusion of power and Taming of the Shrew); De Forviste(Uden Faedreland: impotence operating on both the sexual and non-sexual levels. What Without a Country); Er Huskors (Lysten styref; Enough of is crucially significant here is that this feature is by no means restricted to the villains. It is shared, strikingly, by the male protago- Adventure in a Harem); Evangeliemandens Liv(The Can nists of what are perhaps Hitchcocks two supreme masterpieces, dle and the Moth); Kaerlighedens Triumf (Testamentef; The ear Window and Vertigo. The latter aspect of Hitchcock works also Romance of a Will): Krig og Kaerlighed (Love and War); relates closely to the obsession with control(and the fear of losing it) Spinitisten(A Voice from the Past): Det stjaalne Ansigt (The that characterized Hitchcocks own methods of filmmaking: his Missing Admiralty Plans): En Aeresoprejsning(Misunder preoccupation with a totally finalized and story-boarded shooting ript, his domination of actors and shooting conditions. Finally, it's 1915 Cigaretpigen (The Cigarette Maker): Hvem er Gentlemantyven notable that the psychopath/villain is invariably the most fascinating (Strakoff the Adventurer): En Ildprve (A Terrible Ordeal) and seductive character of the film, and its chief source of energy. His Danserindens Haevn (Circus Arrives: The Dancer's nevitable destruction leaves behind an essentially empty world. Revenge); Danserindens Kaerlighedsdrmi(Den Ddsdmtei If one adds together all these factors, one readily sees why A Dancer's Strange Dream; The Condemned): Den frelsende Hitchcock is so much more than the skillful entertainer and master Film(The Woman Tempted Me): Grevinde Hjertelsi(The raftsman he was once taken for. His films represent an incomparable Beggar Princess); Guldets Gift (The Tempting of Mrs. exposure of the sexual tensions and anxieties(especially male anxie Chestney): Den hvide Diaevel(Caught in the Toils; The ties)that characterize a culture built upon repression, sexual inequal Devil's Protege): Hvo som elsker sin Faderor Faklen (who nd the drive to domination So Loveth His Father's Honor); I Livets Braending(The Crossroads of Life); Manden uden Fremtid (The Man -Robin wood without a Future); Den omstridte Jord (ordens Haevn: The Earth's Revenge); Siaeletyven(The Unwilling Sinner, His Innocent Dupe) Det unge Blod (The Buried Secrer Kriens Fjende(Acostates frstei Ofer, The Munition Conspiracy) HOLGER-MADSEN En Kunstners Gennembrud (Den Ddesi Sjael; The Soul of the Violin) Nationality: Danish. Born: Holger Madsen, 11 April 1878, began 1916 For sin Faders Skyld (The Veiled Lady, False Evidence); spelling name with hyphen, 1911. Career: Actor in Danish prov- Maaneprinsessen(Kamaeleonen; The Mysterious Lady, inces, 1896-1904, and in Copenhagen, from 1904; actor in films, The May-Fly); Brnenesi Synd (The Sins of the Children om 1907: directed first film. 1912: director for Nordisk films Fange no. 113(Convict No. 113): Hans rigtige Kone magni, 1913-20: worked in Germany, from 1920; returned to Which ls Which): Hendes Moders Lfte/(Ddens Kontrakr; enmark, 1930; manager of small Copenhagen cinema, 1938-43 A Super Shylock); Hittebarnet(The Foundling of Fate): Died: 30 November 1943 Hvor Sorgerne glemmes(Sster; Cecilies Offer; Sister Cecilia): Livets Gglespili (An Impossible Marriage); Manden uden Smil; Nattens Mysterium(Who Killed Barno ONeal); Nattevandreren(Edison Maes Dagbog: Out of the Under Films as director: world): Pax Aetema: Lydia (The Music Hall Star) Lykke (The Road to Happiness; Guiding Conscience); Praestens 1912 Kun en Tigger(+ role) Datter; Testamentets Hemmelighed (Den Ddes; Rsti: The 1913 Under Savklingens Taender(The Usurer's Son)(+ role); Voice of the Dead: Nancy Keith): Den Aerelsei(The aenk, Left Alone): Infamous; The Prison Taint): Smil(Far's Sorg: Father Skaebnens Veje(Under Kaerlighedens Aag; In the Bonds of Sorrow: The Beggar Man of Paris) Passion): Det mrkei Punkt (Staalkongens Vilje: The Steel 1917 Himmelskibet(A Trip to Mars); Retten sejrer(Justice Victori King's Last Wish): Mens Pesten raser ( Laegens Hustru; ous); Hendes Helt(Vogt dig for dine Venner) During the Plague); Ballettens Datter(Danserinden: Un 1918 Folkets Ven(A Friend of the People); Mod Lyset(Toward the stly Accused); Elskovsleg (Love's Devotee); Prinsesse na(The Princess's Dilemma): Den hvide dame(The Victors; Fighting instinct White Ghost); Fra Fyrste til Knejpevaert(The Gambler's 1919 Gudernes Yndling( Digterkongen; Trials of Celebrity, The Wife); Millionaerdrengen(The Adventures of a Million Penalty of Fame): Har jeg Ret til at tage mit eget Liv aire's Son); Guldet og vort Hjerte(Et vanskeligt Valg: The (Flugten fra Liver; The Flight from Life; Beyond the Barri de); Det Sti 914 Tempeldanserindens Elskoy (Bajaderens Haevn: The in the World: The Love That Lives) Bayadere's Revenge); Brnevennerne; (A Marriage of Con- 1921 Am Webstuhl der Zeit: Tobias Buntschuh(+role): Den dvende venience): En Opstandelse(Genopstandelsen; A Resur- Stad (Die sterbende stade) rection); Husassistenten (Naar Fruen shifter Pige; The 1922 Pamperly's Kampf mit dem Schneeschuh(co-d lew Cook); Svngaengersken; (The Somnambulist): 1923 Das Evangelium; Zaida, die Tragidie eines Modells Opiumsdrmmeni(The Opium Smoker's Dream): Den 924 Der me Mitternacht mystiske Fremmede(a deal with the Devil); Endelig alene 1925 Ein Lebenskinstler (Alone at Last): Min Ven Levy (My Friend Levy): Ned med 1926 Die seltsame Nacht; Die Sporck'schen Jager, Spitzen Vaabnene ( lay down Your Arms); Trold kan taemmes(The 1927 Die heilige liige 441
DIRECTORS, 4 HOLGER-MADSEN th EDITION 441 characteristics is a striking and ambiguous fusion of power and impotence operating on both the sexual and non-sexual levels. What is crucially significant here is that this feature is by no means restricted to the villains. It is shared, strikingly, by the male protagonists of what are perhaps Hitchcock’s two supreme masterpieces, Rear Window and Vertigo. The latter aspect of Hitchcock works also relates closely to the obsession with control (and the fear of losing it) that characterized Hitchcock’s own methods of filmmaking: his preoccupation with a totally finalized and story-boarded shooting script, his domination of actors and shooting conditions. Finally, it’s notable that the psychopath/villain is invariably the most fascinating and seductive character of the film, and its chief source of energy. His inevitable destruction leaves behind an essentially empty world. If one adds together all these factors, one readily sees why Hitchcock is so much more than the skillful entertainer and master craftsman he was once taken for. His films represent an incomparable exposure of the sexual tensions and anxieties (especially male anxieties) that characterize a culture built upon repression, sexual inequality, and the drive to domination. —Robin Wood HOLGER-MADSEN Nationality: Danish. Born: Holger Madsen, 11 April 1878, began spelling name with hyphen, 1911. Career: Actor in Danish provinces, 1896–1904, and in Copenhagen, from 1904; actor in films, from 1907; directed first film, 1912; director for Nordisk Films Kompagni, 1913–20; worked in Germany, from 1920; returned to Denmark, 1930; manager of small Copenhagen cinema, 1938–43. Died: 30 November 1943. Films as Director: 1912 Kun en Tigger (+ role) 1913 Under Savklingens Taender (The Usurer’s Son) (+ role); Under Mindernes Trae (Dengamle Baenk, Left Alone); Skaebnens Veje (Under Kaerlighedens Aag; In the Bonds of Passion); Det mrke¡ Punkt (Staalkongens Vilje; The Steel King’s Last Wish); Mens Pesten raser (Laegens Hustru; During the Plague); Ballettens Datter (Danserinden; Unjustly Accused); Elskovsleg (Love’s Devotee); Prinsesse Elena (The Princess’s Dilemma); Den hvide Dame (The White Ghost); Fra Fyrste til Knejpevaert (The Gambler’s Wife); Millionaerdrengen (The Adventures of a Millionaire’s Son); Guldet og vort Hjerte (Et vanskeligt Valg; The Heart’s Voice) 1914 Tempeldanserindens Elskov (Bajaderens Haevn; The Bayadere’s Revenge); Brnevennerne¡ (A Marriage of Convenience); En Opstandelse (Genopstandelsen; A Resurrection); Husassistenten (Naar Fruen skifter Pige; The New Cook); Svngaengersken¡ (The Somnambulist); Opiumsdrmmen¡ (The Opium Smoker’s Dream); Den mystiske Fremmede (A Deal with the Devil); Endelig Alene (Alone at Last); Min Ven Levy (My Friend Levy); Ned med Vaabnene (Lay Down Your Arms); Trold kan taemmes (The Taming of the Shrew); De Forviste (Uden Faedreland; Without a Country); Et Huskors (Lysten styret; Enough of It); Barnets Magt (The Child); Et Haremseventyr (An Adventure in a Harem); Evangeliemandens Liv (The Candle and the Moth); Kaerlighedens Triumf (Testamentet; The Romance of a Will); Krig og Kaerlighed (Love and War); Spiritisten (A Voice from the Past): Det stjaalne Ansigt (The Missing Admiralty Plans); En Aeresoprejsning (Misunderstood); Liykken draeber 1915 Cigaretpigen (The Cigarette Maker); Hvem er Gentlemantyven (Strakoff the Adventurer); En Ildprve¡ (A Terrible Ordeal); Danserindens Haevn (Circus Arrives; The Dancer’s Revenge); Danserindens Kaerlighedsdrm¡ (Den Ddsdmte¡¡; A Dancer’s Strange Dream; The Condemned); Den frelsende Film (The Woman Tempted Me); Grevinde Hjertels¡ (The Beggar Princess); Guldets Gift (The Tempting of Mrs. Chestney); Den hvide Djaevel (Caught in the Toils; The Devil’s Protege); Hvo som elsker sin Fader or Faklen (Who So Loveth His Father’s Honor); I Livets Braending (The Crossroads of Life); Manden uden Fremtid (The Man without a Future); Den omstridte Jord (Jordens Haevn; The Earth’s Revenge); Sjaeletyven (The Unwilling Sinner; His Innocent Dupe); Det unge Blod (The Buried Secret); Krigens Fjende (Acostates frste¡ Offer; The Munition Conspiracy); En Kunstners Gennembrud (Den Ddes¡ Sjael; The Soul of the Violin) 1916 For sin Faders Skyld (The Veiled Lady; False Evidence); Maaneprinsessen (Kamaeleonen; The Mysterious Lady; The May-Fly); Brnenes¡ Synd (The Sins of the Children); Fange no. 113 (Convict No. 113); Hans rigtige Kone (Which Is Which); Hendes Moders Lfte¡ (Ddens¡ Kontrakt; A Super Shylock); Hittebarnet (The Foundling of Fate): Hvor Sorgerne glemmes (Sster¡ Cecilies Offer; Sister Cecilia); Livets Gglespil¡ (An Impossible Marriage); Manden uden Smil; Nattens Mysterium (Who Killed Barno O’Neal); Nattevandreren (Edison Maes Dagbog; Out of the Underworld); Pax Aeterna; Lydia (The Music Hall Star); Lykken (The Road to Happiness; Guiding Conscience); Praestens Datter; Testamentets Hemmelighed (Den Ddes¡ Rst¡; The Voice of the Dead; Nancy Keith); Den Aerelse¡ (The Infamous; The Prison Taint); Smil (Far’s Sorg; Father Sorrow; The Beggar Man of Paris) 1917 Himmelskibet (A Trip to Mars); Retten sejrer (Justice Victorious); Hendes Helt (Vogt dig for dine Venner) 1918 Folkets Ven (A Friend of the People); Mod Lyset (Toward the Light); Manden, der sejrede (The Man Who Tamed the Victors; Fighting Instinct) 1919 Gudernes Yndling (Digterkongen; Trials of Celebrity; The Penalty of Fame); Har jeg Ret til at tage mit eget Liv (Flugten fra Livet; The Flight from Life; Beyond the Barricade); Det Strste¡ i Verden (Janes gode Ven; The Greatest in the World; The Love That Lives) 1921 Am Webstuhl der Zeit; Tobias Buntschuh (+ role); Den dvende Stad (Die sterbende Stadt) 1922 Pömperly’s Kampf mit dem Schneeschuh (co-d) 1923 Das Evangelium; Zaida, die Tragödie eines Modells 1924 Der Mann um Mitternacht 1925 Ein Lebenskünstler 1926 Die seltsame Nacht; Die Sporck’schen Jäger; Spitzen 1927 Die heilige Lüge
HOLLAND DIRECTORS, 4 EDItION 1928 Freiwild; Die seltsame Nacht der Helga Wansen; Was ist los Holger-Madsen's reputation as an idealistic director led him direct the big prestige films with pacifist themes which Ole Olsen, the 1934 Kbenhavn, Kalundborg og-?(co-d) ead of Nordisk Films Kompagni, wanted to make in the naive hope 936 Sol over danmark that he could influence the fighting powers in the First World War The films were often absurdly simple, but Holger-Madsen brought his artistic sense to the visual design of these sentimental stories. One of Films as actor his most famous films is Himmelskibet from 1917. a work about a scientist who flies to Mars in a rocket ship. There he is confronted 1907 Den sorte hertog with a peaceful civilization. The film has obtained a position as one of the first science-fiction films 908 Magdalene: En grov Spgi(A Practical Joke and a Sad When the Danish cinema declined. Holger-Madsen went to Ger End); Verdens Herkules(hercules the Athlete); Karneval (The Bank Director, Carnival); Svend Dyrings Hus(The many. Returning to Denmark after the 1920s, he was offered the opportunity of directing during the early sound film period, but his Stepmother); De smaa Landstrygere( Sold to Thieves), productions were insignificant. He was a silent film director; the Smaeklaasen(The Spring Lock); Natten fri Kristians image was his domain, and he was one of the craftsmen who molded Fdelsdag i (The Night before Christian's Birthday) Rulleskjternej(On Roller Skates): Sherlock Holmes /; and refined the visual language of film. Sherlock holmes lll 909 Den graa Dame(The Gray Dame) -Ib Monty 1911 Det store Fald or Malstrmmen Ddssejlerenj oi Dynamitattentatet paa Fyrtaarnet; Den svarte doktor 1912 Paa Livets Skyggeside 1913 Elskovs Mast HOLLAND, Agnieszka 1931 Praesten i Vejlby, Krudt med Knald 1933 Fem raske Piger; Med tuld Musik Nationality: Polish. Born: Warsaw, Poland, 28 November 1948. 1934Lyet;z-9-13 Education: Graduated from the Filmova Akademie Muzickycl 1935 Kidnapped Umeni(FAMU) film school in Prague, where she studied directing. Career: Maintained her studies in Prague even after the Soviet invasion; was jailed by the authorities after months of harassment by The two leading directors at Nordisk Films Kompagni in the Golden Age of the Danish cinema from 1910 to 1914 were august Blom and Holger-Madsen. They were similar in many respects. They both started as actors but unlike Blom, Holger-Madsen began as director with companies other than Nordisk. When he came to Nordisk he worked in almost all of the genres of the period- national films, comedies, farces, dramas, and tragedies. Gradually, nough, Holger-Madsen developed his own personality, both in content and style Holger-Madsen specialized in films with spiritual topics. His main film in this genre was Evangeliemandens Liv, in which Valdemar Psilander plays the leading part of a dissolute young man of good family who suddenly realizes how empty and pointless his life is. He becomes a Christian and starts working as a preacher among the poor and the social outcasts of the big city. He succeeds in rescuing a young nan from the path of sin. Several of the cliches of the period are eatured in this tale, but the characterization of the hero is largely free f sentimentality, and Holger-Madsen coached Psilander into playing ne role with a mature calm, and genuine strength of feeling. Formally the film is exquisite. The sets, the camerawork, and the lighting are executed with great care, and the film is rich in striking pictorial compositions, which was the directors forte Holger-Madsen had a predilection for extraordinary, often bizarre images and picturesque surroundings. With his cameraman, Marius Clausen, he emphasized the visual look of his films. His use of side light, inventive camera angles, and close-ups, combined with unusual sets, made him an original stylist. He was not very effective in his cutting technique, but he could establish marvelously choreographed scenes in which people moved in elegant patterns within the frame 442
HOLLAND DIRECTORS, 4th EDITION 442 1928 Freiwild; Die seltsame Nacht der Helga Wansen; Was ist los mit Nanette 1934 Kbenhavn¡, Kalundborg og—? (co-d) 1936 Sol over Danmark Films as Actor: 1907 Den sorte Hertug 1908 Magdalene; En grov Spg¡ (A Practical Joke and a Sad End); Verdens Herkules (Hercules the Athlete); Karneval (The Bank Director, Carnival); Svend Dyrings Hus (The Stepmother); De smaa Landstrygere (Sold to Thieves); Smaeklaasen (The Spring Lock); Natten fr¡ Kristians Fdelsdag¡ (The Night before Christian’s Birthday); Rulleskjterne¡ (On Roller Skates); Sherlock Holmes I; Sherlock Holmes III 1909 Den graa Dame (The Gray Dame) 1911 Det store Fald or Malstrmmen¡; Ddssejleren¡ or Dynamitattentatet paa Fyrtaarnet; Den svarte doktorn 1912 Paa Livets Skyggeside 1913 Elskovs Mast 1931 Praesten i Vejlby; Krudt med Knald 1933 Fem raske Piger; Med tuld Musik 1934 Lynet; 7–9-13 1935 Kidnapped *** The two leading directors at Nordisk Films Kompagni in the Golden Age of the Danish cinema from 1910 to 1914 were August Blom and Holger-Madsen. They were similar in many respects. They both started as actors, but unlike Blom, Holger-Madsen began as a director with companies other than Nordisk. When he came to Nordisk he worked in almost all of the genres of the period— sensational films, comedies, farces, dramas, and tragedies. Gradually, though, Holger-Madsen developed his own personality, both in content and style. Holger-Madsen specialized in films with spiritual topics. His main film in this genre was Evangeliemandens Liv, in which Valdemar Psilander plays the leading part of a dissolute young man of good family who suddenly realizes how empty and pointless his life is. He becomes a Christian and starts working as a preacher among the poor and the social outcasts of the big city. He succeeds in rescuing a young man from the path of sin. Several of the clichés of the period are featured in this tale, but the characterization of the hero is largely free of sentimentality, and Holger-Madsen coached Psilander into playing the role with a mature calm, and genuine strength of feeling. Formally the film is exquisite. The sets, the camerawork, and the lighting are executed with great care, and the film is rich in striking pictorial compositions, which was the director’s forte. Holger-Madsen had a predilection for extraordinary, often bizarre images and picturesque surroundings. With his cameraman, Marius Clausen, he emphasized the visual look of his films. His use of side light, inventive camera angles, and close-ups, combined with unusual sets, made him an original stylist. He was not very effective in his cutting technique, but he could establish marvelously choreographed scenes in which people moved in elegant patterns within the frame. Holger-Madsen’s reputation as an idealistic director led him to direct the big prestige films with pacifist themes which Ole Olsen, the head of Nordisk Films Kompagni, wanted to make in the naive hope that he could influence the fighting powers in the First World War. The films were often absurdly simple, but Holger-Madsen brought his artistic sense to the visual design of these sentimental stories. One of his most famous films is Himmelskibet from 1917, a work about a scientist who flies to Mars in a rocket ship. There he is confronted with a peaceful civilization. The film has obtained a position as one of the first science–fiction films. When the Danish cinema declined, Holger-Madsen went to Germany. Returning to Denmark after the 1920s, he was offered the opportunity of directing during the early sound film period, but his productions were insignificant. He was a silent film director; the image was his domain, and he was one of the craftsmen who molded and refined the visual language of film. —Ib Monty HOLLAND, Agnieszka Nationality: Polish. Born: Warsaw, Poland, 28 November 1948. Education: Graduated from the Filmova Akademie Muzickych Umeni (FAMU) film school in Prague, where she studied directing. Career: Maintained her studies in Prague even after the Soviet invasion; was jailed by the authorities after months of harassment by Agnieszka Holland
DIRECTORS, 4 EDITION HOLLAND police, 1970; returned to Poland and became member of film collec- Publications tive"X, headed by Andrzej wajda, 1972: began career as a produc on assistant to director Krzysztof Zanussi on Illumination, 1973 By HOLLAND: book worked in Polish theatre and television, 1970s; began authoring riots of films directed by Wajda, 1979; directed first feature, Provincial Actors. 1979: moved to Paris after the declaration of Olivier, Olivier(Script and Director Series), with Regis Debray, Yves Lapointe, Gaile Sarma, Leon Steinmetz, Anga Karetnikova martial law in Poland, and began making documentaries for French and Inga Karetnikova, Westport, Connecticut, 1996. television, 1981: earned first major international acclaim for Angry Harvest, 1985; member of board of directors of Zespoly Filmowne: member of board of directors of polish Filmmakers association By HOLLAND: articles- Awards: Award at TV Films and Plays Festival, Olsztyn, 1976: Prize at San Remo Festival, and MIFED, Milan, 1976, for Sunday Child. ""Agnieszka Holland: le cinema polonais cintinue d'exister mais un ren Grand Prix. Koszalin Festival. 1979. for Provincial Actors: Co- lui a coupe le souffle, interview by P. Li in Avant-Scene Cinema (Paris), December 1983 winner, International Critics Prize, Cannes Festival, 1980. for ProvIn-"Lessons from the Past, interview by Peter Brunette in Cineaste cial Actors: Grand Prize. Gdansk Festival. 1981. for The Fever. New Cinema Grand Prize. Montreal Festival. 1981. for A Woman Alone New York ), no. 1, 1986. Oscar nomination, Best Foreign Language Film, 1985, for Angry 'Off-screen: A Pole Apart, interview by J. Hoberman in Village Voice(New York ) 18 March 1986. harvest: Golden Globe Award, Best Foreign Language Film, National "Dialogue on Film: Agnieszka Holland, "in American Film(New Board of Review, Best Foreign Language Film, and Oscar nomina tion, Best Screenplay, 1990, for Europa, Europa. Agnt: Will York), September 1986 Morris, 151 E Camino Drive, Beverly Hills, CA 90212 Lekja historii, interview by J. Wroblewski in Kino(Warsaw). 9 Holland, Agnieszka, ""Felix dia Wajdy, in Kino(Warsaw), April 1991 Spotkanie Z Agnieszka Holland, interview by T. Lubelshi in Kino Films as Director/Screenwriter: Warsaw), April 1991 Nowa gra, interview by Z. Benedyktow in Kino(Warsaw), 16 1973 Le Complot(co-d only) February 1992 1974 Evening at Abdon's(An Evening at Abdon)(for TV ' Feint Praise, an interview with Jonathan Romney, in Time Out 1976 Niedzielne Dzieci(Sunday Children)(for TV) London)13 May 1992. 1977 Something for Something(for TV): Screen Tests(episode in Holland, interview by E. Krolikowska-Avis in Kino (Warsaw), sketch film) October 1992 1979 Aktorzy prowincjonalni(Provincial Actors Out of the Ruins: Lonely People, an interview with Amy Taubin 1981 Fever(The Fever: The Story of the Bomb) and M. Burman, in Sight and Sound (London), October 19 1982 A Woman Alone(A Lonely Woman)(co-dir) Interview, in Kino(Warsaw), November 1993 1984 Bittere ernte(Angry Harvest) "Raising hell, an interview with Nick Bradshaw, in Time Out 1988 To Kill a Priest(Le complot)(co-s (London ), 9 April 1997 Eu The Escape of Bresson, in DGA Magazine (Los angeles), 991 Olivier. Olive 1993 The Secret Garden(d only Squaring Off, an interview with A. Taubin, in Village Voice(New 1995 Total Eclipse(d only) York), 14 October 1997. 1997 Washington square 1999 The Third miracle On HOLLAND: articles- 2001 Golden Dreams, Julia Walking Home(+co-sc "Agnieszka Holland, in Avanf-Scene Cinema(Paris), December 1983 Warchol, T,"The End of a Beginning. in Sight and Se London ) no 3 6 Other films Stone, Judy, "" Behind Angry Harvest: Polish Politics and Exile, in New york Times. 16 March 1986. 1976 Blizna(The Scar)(Kieslowski)(ro as Secretary) Taubin, Amy, Woman of Irony, in Village Voice(New York), 1978 Dead Case(sc); Bez znieczulenia( Without Anesthesia; Re Treatment)(Wajda)(sc) Quart, Barbara, Three Central European Women Directors Revis- 1981 Cziowiek z zelaza(Man of iron)(Wajda)(sc) ted, 'in Cineaste(New York), no 4, 199 1982 Przesluchanie(role as witowska) Blinken, AJ," Going to Extremes, 'in Harper's Bazaar(New 1983 Danton(Wajda)(sc) York), February 1993 1984 Ein Liebe en Deutschland (A Love in Germany)(Wajda)(sc) Cohen, R,"Holland without a Count New york Times 987 Anna(Bogayevicz)(sc): Les Possedes(sc) 8 August 199 988 La Amiga(sc) Taubin, Amy, 'Imagination among the Ruins, in Village Voice 990 Korczak(Wajda)(sc) (New York), 17 August 1993 1993 Trois Couleurs: Bleu(Kieslowski)(additional dialogue) H. S. Hample, " Filmographies, in Premiere(New 1994 Trois Couleurs: Rouge(Kieslowski)(script consultant) York), September 1993 443
DIRECTORS, 4 HOLLAND th EDITION 443 police, 1970; returned to Poland and became member of film collective ‘‘X,’’ headed by Andrzej Wajda, 1972; began career as a production assistant to director Krzysztof Zanussi on Illumination, 1973; worked in Polish theatre and television, 1970s; began authoring scripts of films directed by Wajda, 1979; directed first feature, Provincial Actors, 1979; moved to Paris after the declaration of martial law in Poland, and began making documentaries for French television, 1981; earned first major international acclaim for Angry Harvest, 1985; member of board of directors of Zespoly Filmowne; member of board of directors of Polish Filmmakers Association. Awards: Award at TV Films and Plays Festival, Olsztyn, 1976; Prize at San Remo Festival, and MIFED, Milan, 1976, for Sunday Children; Grand Prix, Koszalin Festival, 1979, for Provincial Actors; Cowinner, International Critics Prize, Cannes Festival, 1980, for Provincial Actors; Grand Prize, Gdansk Festival, 1981, for The Fever; New Cinema Grand Prize, Montreal Festival, 1981, for A Woman Alone; Oscar nomination, Best Foreign Language Film, 1985, for Angry Harvest; Golden Globe Award, Best Foreign Language Film, National Board of Review, Best Foreign Language Film, and Oscar nomination, Best Screenplay, 1990, for Europa, Europa. Agnt: William Morris, 151 E. Camino Drive, Beverly Hills, CA 90212. Films as Director/Screenwriter: 1973 Le Complot (co-d only) 1974 Evening at Abdon’s (An Evening at Abdon) (for TV) 1976 Niedzielne Dzieci (Sunday Children) (for TV) 1977 Something for Something (for TV); Screen Tests (episode in sketch film) 1979 Aktorzy prowincjonalni (Provincial Actors) 1981 Fever (The Fever: The Story of the Bomb) 1982 A Woman Alone (A Lonely Woman) (co-dir) 1984 Bittere ernte (Angry Harvest) 1988 To Kill a Priest (Le complot) (co-sc) 1990 Europa, Europa 1991 Olivier, Olivier 1993 The Secret Garden (d only) 1995 Total Eclipse (d only) 1997 Washington Square 1999 The Third Miracle 2001 Golden Dreams; Julia Walking Home (+ co-sc) Other Films: 1976 Blizna (The Scar) (Kieslowski) (ro as Secretary) 1978 Dead Case (sc); Bez znieczulenia (Without Anesthesia; Rough Treatment) (Wajda) (sc) 1981 Cziowiek z zelaza (Man of Iron) (Wajda) (sc) 1982 Przesluchanie (role as Witowska) 1983 Danton (Wajda) (sc) 1984 Ein Liebe en Deutschland (A Love in Germany) (Wajda) (sc) 1987 Anna (Bogayevicz) (sc); Les Possedes (sc) 1988 La Amiga (sc) 1990 Korczak (Wajda) (sc) 1993 Trois Couleurs: Bleu (Kieslowski) (additional dialogue) 1994 Trois Couleurs: Rouge (Kieslowski) (script consultant) Publications By HOLLAND: book— Olivier, Olivier (Script and Director Series), with Regis Debray, Yves Lapointe, Gaile Sarma, Leon Steinmetz, Anga Karetnikova and Inga Karetnikova, Westport, Connecticut, 1996. By HOLLAND: articles— ‘‘Agnieszka Holland: le cinema polonais cintinue d’exister mais un lui a coupe le souffle,’’ interview by P. Li in Avant-Scene Cinéma (Paris), December 1983. ‘‘Lessons from the Past,’’ interview by Peter Brunette in Cineaste (New York), no. 1, 1986. ‘‘Off-screen: A Pole Apart,’’ interview by J. Hoberman in Village Voice (New York), 18 March 1986. ‘‘Dialogue on Film: Agnieszka Holland,’’ in American Film (New York), September 1986. ‘‘Lekja historii,’’ interview by J. Wroblewski in Kino (Warsaw), August 1989. Holland, Agnieszka, ‘‘Felix dia Wajdy,’’ in Kino (Warsaw), April 1991. ‘‘Spotkanie z Agnieszka Holland,’’ interview by T. Lubelshi in Kino (Warsaw), April 1991. ‘‘Nowa gra,’’ interview by Z. Benedyktow in Kino (Warsaw), 16 February 1992. ‘‘Feint Praise,’’ an interview with Jonathan Romney, in Time Out (London) 13 May 1992. ‘‘Holland,’’ interview by E. Krolikowska-Avis in Kino (Warsaw), October 1992. ‘‘Out of the Ruins: Lonely People,’’ an interview with Amy Taubin and M. Burman, in Sight and Sound (London), October 1993. Interview, in Kino (Warsaw), November 1993. ‘‘Raising Hell,’’ an interview with Nick Bradshaw, in Time Out (London), 9 April 1997. ‘‘The Escape of Bresson,’’ in DGA Magazine (Los Angeles), MayJune 1997. ‘‘Squaring Off,’’ an interview with A. Taubin, in Village Voice (New York), 14 October 1997. On HOLLAND: articles— ‘‘Agnieszka Holland,’’ in Avant-Scene Cinéma (Paris), December 1983. Warchol, T., ‘‘The End of a Beginning,’’ in Sight and Sound (London), no. 3, 1986. Stone, Judy, ‘‘Behind Angry Harvest: Polish Politics and Exile,’’ in New York Times, 16 March 1986. Taubin, Amy, ‘‘Woman of Irony,’’ in Village Voice (New York), 2 July 1991. Quart, Barbara, ‘‘Three Central European Women Directors Revisited,’’ in Cineaste (New York), no. 4, 1993 Blinken, A. J., ‘‘Going to Extremes,’’ in Harper’s Bazaar (New York), February 1993. Cohen, R., ‘‘Holland without a Country,’’ in New York Times, 8 August 1993. Taubin, Amy, ‘‘Imagination among the Ruins,’’ in Village Voice (New York), 17 August 1993. Clark, J., and H. S. Hample, ‘‘Filmographies,’’ in Premiere (New York), September 1993
HOOPER DIRECTORS, 4 EDItION Quart, Barbara, The Secret Garden of Agnieszka Holland, in Ms Another of Hollands themes-which by its very nature also may (New York), September/October 1993 be linked to the holocaust--is the loss of innocence among children Gaydos, Stephen, " For Holland, Less Is More, ' in Variety(New that occurs by odd, jarring circumstances, rather than the natural York). 30 October 1995 progression of growing into adulthood. Olivier, Olivier, like Europa, Possu, T, in Filmihulln(Helsinki), no 5, 1995 Europa and Korczak, also is a based-on-fact narrative. It is the Lally, K,"Holland,'s America, in Film Jounal(New York), intricate account of a country couple whose youngest offspring, October 1997 Olivier, mysteriously disappears. Six years later he" reappears, but is no longer the special child who was a joy to his family. Instead, he is a Parisian street hustler who claims to have forgotten his childhood One also can understand Hollands attraction to The Secret garden The death camps were liberated decades ago. Auschwitz and an adaptation of the Frances Hodgson Burnett children's story about Birkenau, Chelmno and dachau-the ABCD's of the Final solution a ten-year-old orphan who revitalizes a neglected garden in her have long been silent memorials to the mass murder of millions uncles Victorian mansion. And one can see how she would be draw Despite this passage of time-and despite the media-induced impres- to Washington Square, Henry James's story of an awkward, unattrac ion that Steven Spielberg's Schindler's List is the only movie ever tive young woman, the daughter of a well-heeled, domineering nade that confronts the extermination of a people during the Second doctor, who is wooed by a poor-but-handsome fortune hunter. The World War-the Holocaust was and is a fertile subject for cinematic characters in Washington Square, The Secret Garden, and Olivier exploration. One filmmaker whose body of work has been profoundly Olivier are further linked in that they share complex familial bonds affected by the events of the era is director-screenwriter Agnieszka Religion has had a significant presence in Hollands films. In Holland Europa, Europa, the young hero chooses to disavow his Judaism in Holland is a Polish Jew who was born scant years after the end of order to insure his survival. To kill a Priest is the story of an ill-fated the war. She is not so much interested in the politics of the era, in how activist priest in Poland, while The Third Miracle deals with a self- and why the German people allowed Hitler to come to power. Rather, doubting clergyman whose job is to scrutinize the lives of potential a common theme in her films is the manner in which individuals saints. In these films, Holland is concemed with various aspects of perfectly exemplified in what is perhaps her most distinguished film affects the individuals worldview y, the manner in which religion responded to Hitler and the Nazi scourge. This concern is most and how the religious establish to date: Europa, Europa, a German-made feature based on the ment deals with the passions and politics of its adherents memoirs of Salamon Perel, who as a teenaged german Jew survived Most of Holland,'s films have been artistically successful. Two thoughtful, tremendously moving film was the source of controversy clumsy drama; and Total Eclipse, about the relationship between on two accounts: it depicts a Jew who compromises himself in order to insure his survival; and it was not named as Germany's official Best by Christopher Hampton ). Total Eclipse was a fiasco--one of the Foreign Language Film Academy Award entry, making it ineligible more eagerly anticipated yet disappointing films of 1995.Thank- that category for an Oscar. However, it did earn Holland a nomina- fully, however, these failures comprise the minority of Hollands tion for Best Adapted Screenplay Even though Holland only wrote the script for Korczak-the film was directed by her mentor, Andrzej Wajda-it too is one of her most -Rob edelman ks. Her simple, poignant screenplay chronicles the real-life story of a truly gentle, remarkable man: Janusz Korczak (Wojtek Pszoniak), a respected doctor, writer, and childrens rights HOOPER, Tobe the 1930s. Korczak's concerns are people and not politics. I love Nationality: American. Born: Austin, Texas, 1946. Education: for the dignity of children. "In his school, he offers his charges Studied film at the University of Texas. Career: Directed commer a humanist education. and then the nazis invade his homeland given his station in life, Korczak easily could arrange his escape to freedom. Idol; director of TV series' The Equalizer(1985), Amazing Stories But he chooses to remain with his children and do whatever he must to (1987), Nowhere Man(1995), Dark Skies(1996), Perversions of keep his orphanage running and his children alive, even after they all Science(1997), and The Others(2000); assistant director, University have been imprisoned in the Warsaw Ghetto. of Texas film school. Agent: William Morris Agency, 151 El Camino After directing several theatrical and made- for -television features Dr, Beverly Hills, CA 90212, U.S.A. in Poland, Holland came to international attention in 1985 with Angry Harvest, a superb drama about a wealthy farmer who offers to shelter a Jewish woman in his cellar in World War Il Poland. His repressed Films as director exuality transforms this act of kindness into one of hypocrisy, as he attempts to abuse his guest. Films like Angry Harvest, Korczak, and 1963 The Heisters uropa, Europa serve an essential purpose: they are tools that can be 1969 Eggshells exploitation and extermination of a race. They are monuments, as 1976 Eaten Alive(+ composer acre(+sc, pr, composer) used to educate young people, Jew and non-Jew alike, about the 1974 The Texas Chainsaw mass uch to the memory of generations past as to the survival of 979 Salen's Lot: The Movie: Salem's Lot (tv Dark(replaced by John Cardos)
HOOPER DIRECTORS, 4th EDITION 444 Quart, Barbara, ‘‘The Secret Garden of Agnieszka Holland,’’ in Ms. (New York), September/October 1993. Gaydos, Stephen, ‘‘For Holland, Less Is More,’’ in Variety (New York), 30 October 1995. Possu, T., in Filmihullu (Helsinki), no. 5, 1995. Lally, K., ‘‘Holland’s America,’’ in Film Journal (New York), October 1997. *** The death camps were liberated decades ago. Auschwitz and Birkenau, Chelmno and Dachau—the ABCD’s of the Final Solution— have long been silent memorials to the mass murder of millions. Despite this passage of time—and despite the media-induced impression that Steven Spielberg’s Schindler’s List is the only movie ever made that confronts the extermination of a people during the Second World War—the Holocaust was and is a fertile subject for cinematic exploration. One filmmaker whose body of work has been profoundly affected by the events of the era is director-screenwriter Agnieszka Holland. Holland is a Polish Jew who was born scant years after the end of the war. She is not so much interested in the politics of the era, in how and why the German people allowed Hitler to come to power. Rather, a common theme in her films is the manner in which individuals responded to Hitler and the Nazi scourge. This concern is most perfectly exemplified in what is perhaps her most distinguished film to date: Europa, Europa, a German-made feature based on the memoirs of Salamon Perel, who as a teenaged German Jew survived World War II by passing for Aryan in a Hitler Youth academy. This thoughtful, tremendously moving film was the source of controversy on two accounts: it depicts a Jew who compromises himself in order to insure his survival; and it was not named as Germany’s official Best Foreign Language Film Academy Award entry, making it ineligible in that category for an Oscar. However, it did earn Holland a nomination for Best Adapted Screenplay. Even though Holland only wrote the script for Korczak—the film was directed by her mentor, Andrzej Wajda—it too is one of her most impassioned works. Her simple, poignant screenplay chronicles the real-life story of a truly gentle, remarkable man: Janusz Korczak (Wojtek Pszoniak), a respected doctor, writer, and children’s rights advocate who operated a home for Jewish orphans in Warsaw during the 1930s. Korczak’s concerns are people and not politics. ‘‘I love children,’’ he states, simply and matter-of-factly. ‘‘I fight for years for the dignity of children.’’ In his school, he offers his charges a humanist education. And then the Nazis invade his homeland. Given his station in life, Korczak easily could arrange his escape to freedom. But he chooses to remain with his children and do whatever he must to keep his orphanage running and his children alive, even after they all have been imprisoned in the Warsaw Ghetto. After directing several theatrical and made-for-television features in Poland, Holland came to international attention in 1985 with Angry Harvest, a superb drama about a wealthy farmer who offers to shelter a Jewish woman in his cellar in World War II Poland. His repressed sexuality transforms this act of kindness into one of hypocrisy, as he attempts to abuse his guest. Films like Angry Harvest, Korczak, and Europa, Europa serve an essential purpose: they are tools that can be used to educate young people, Jew and non-Jew alike, about the exploitation and extermination of a race. They are monuments, as much to the memory of generations past as to the survival of generations to come. Another of Holland’s themes—which by its very nature also may be linked to the Holocaust—is the loss of innocence among children that occurs by odd, jarring circumstances, rather than the natural progression of growing into adulthood. Olivier, Olivier, like Europa, Europa and Korczak, also is a based-on-fact narrative. It is the intricate account of a country couple whose youngest offspring, Olivier, mysteriously disappears. Six years later he ‘‘reappears,’’ but is no longer the special child who was a joy to his family. Instead, he is a Parisian street hustler who claims to have forgotten his childhood. One also can understand Holland’s attraction to The Secret Garden, an adaptation of the Frances Hodgson Burnett children’s story about a ten-year-old orphan who revitalizes a neglected garden in her uncle’s Victorian mansion. And one can see how she would be drawn to Washington Square, Henry James’s story of an awkward, unattractive young woman, the daughter of a well-heeled, domineering doctor, who is wooed by a poor-but-handsome fortune hunter. The characters in Washington Square, The Secret Garden, and Olivier, Olivier are further linked in that they share complex familial bonds. Religion has had a significant presence in Holland’s films. In Europa, Europa, the young hero chooses to disavow his Judaism in order to insure his survival. To Kill a Priest is the story of an ill-fated activist priest in Poland, while The Third Miracle deals with a selfdoubting clergyman whose job is to scrutinize the lives of potential saints. In these films, Holland is concerned with various aspects of theology, including religious identity, the manner in which religion affects the individual’s worldview, and how the religious establishment deals with the passions and politics of its adherents. Most of Holland’s films have been artistically successful. Two exceptions have been To Kill a Priest, an ambitious but ultimately clumsy drama; and Total Eclipse, about the relationship between French poets Arthur Rimbaud and Paul Verlaine (and based on a play by Christopher Hampton). Total Eclipse was a fiasco—one of the more eagerly anticipated yet disappointing films of 1995. Thankfully, however, these failures comprise the minority of Holland’s filmic output. —Rob Edelman HOOPER, Tobe Nationality: American. Born: Austin, Texas, 1946. Education: Studied film at the University of Texas. Career: Directed commercials and music videos, including ‘‘Dancing with Myself,’’ for Billy Idol; director of TV series’ The Equalizer (1985), Amazing Stories (1987), Nowhere Man (1995), Dark Skies (1996), Perversions of Science (1997), and The Others (2000); assistant director, University of Texas film school. Agent: William Morris Agency, 151 El Camino Dr., Beverly Hills, CA 90212, U.S.A. Films as Director: 1963 The Heisters 1969 Eggshells 1974 The Texas Chainsaw Massacre (+ sc, pr, composer) 1976 Eaten Alive (+ composer) 1979 Salem’s Lot: The Movie; Salem’s Lot (TV miniseries); The Dark (replaced by John Cardos)